Listen: Movement / LCD Soundsystem LCDMovement.mp3

2004 was the year when ‘Movement’ turned some sort of corner between me and LCD. I had remembered ‘Losing My Edge’ from ’01, really loved it for a minute, but was mostly annoyed that I didn’t have the 7″. Turns out I did, as it was recently rescued from one of the never ending ‘Need To Be Filed’ boxes.

But ‘Movement’ was my first real favorite by James and his posse. Good and noisy, a bit tuneless, beautiful chaos, as The Psychedelic Furs were once described. Always did appreciate those occasional Mark E. Smith vocal moments too.

Listen: Daft Punk Is Playing At My House / LCD Soundsystem LCDDaftPunk.mp3

If ‘Daft Punk Is Playing At My House’ had been LCD Soundsystem’s debut, I’d have been worried. Well not really, but they should’ve been. As it turns out, the band were five years into their career, so the apparent novelty was absolutely tolerable. Let’s face it – the idea is good, it’s fun. I still play it often.

James Murphy gives Suicide props on stage, mentioning both Alan and Marty’s genius. Pretty accurate so far, and then he throws in a Scott Walker shout out. If the band weren’t so good live and established, I’d be suspicious of it being politically correct name checking to gain traction. My belief is it’s not. An honorable man, that James Murphy certainly appears to be, and one I’d invite over to play singles if the moment ever presented itself.

Listen: Senses Working Overtime (Single Version) / XTC [audio:

http://www.somanyrecordssolittletime.com/records/XTCSenses.mp3]

You have to hand it to Steve Lillywhite. He can produce a record alright. God, he was on a roll during this early 80′s stretch. XTC, Peter Gabriel, The Psychedelic Furs, Simple Minds, Joan Armatrading, U2. If you couldn’t make great records with that bunch, you’d be pretty useless – but seminal ones as they turned out to be – well not necessarily that easy.

Having a great engineer is the magic formula – one who can eventually learn the craft and rise to the occasion. Such the case with Hugh Padgham, Steve’s original engineer who produced this – and The Police among others.

Early on, XTC opened a US tour for The Police, the only time I got to see them. And I’m honestly not sure how many times thereafter they returned. Their saga is long. And this is a well known hit, but never one I tire of.

Listen: Forever Now / The Psychedelic Furs PsychedelicForeverNow.mp3

I’ve been meaning to get a dedicated section on this blog for ‘Songs That Should Have Been Singles’. Some day, one day, as The Seekers once sang.

So now I have to decide, if something was pressed up on 7″ for promotional use only, is it a single? Or is a single a record that was actually released on 7″ for the public to buy? The plot thickens, given that some labels in the 60′s would promo a single to radio, then only press retail copies if it felt like airplay was possible. Feel free to discuss but I’m thinking if I can hold it as a 7″ piece of plastic, then yes it is a single.

One such promo only 7″, in a classy, almost UK type sleeve, was the (unfortunately) unedited version of The Psychedelic Furs ‘Forever Now’ (the over produced, ‘dynamic and percussively textured middle breakdown’, to quote a wordy journalist from the period, should have, in my opinion, been zapped). Despite that, the track is possibly one of their best. To hear the guitars REALLY pop, wear headphones. I’ve been listening to it almost exclusively since seeing the band for the first time in years, a few weeks back. I will not leave it so long ever again.

It’s always helpful to look great as well as sound it. Richard and Tim Butler indeed look exactly the same as they did thirty years ago. It defies logic. As importantly, they sound fantastic. Despite being the only two originals left, those integral parts Vince Ely and Jon Ashton created on this song are well reproduced in person.

And it’s those bits that make this recorded version so vital. Drummer Vince Ely flawlessly provides incredible swing underneath it all as a result of an interplay with Tim Butler’s bass that’s impeccable. John Ashton’s razor sharp guitar tones make his anthemic playing powerful and perfect. Then there’s Richard Butler’s classic vocal inflections and one of a kind lyrics: “everybody’s busy listening and pulling blinds”, beautifully marrying David Bowie with John Cooper Clarke.

‘Forever Now’ was the last song of their final encore that night, proceeded by the crowd jaw dropper, an unexpected ‘She Is Mine’. The end to a perfect evening. Only the goodnight kiss from Marianne Faithfull could top it.

Listen: When The Tanks Roll Over Poland Again / Automatics Automatics.mp3

Who is the best living rock producer? Steve Lillywhite.

There are many, and I’m probably writing this without really thinking it through. Whatever. Steve has made so many great records for decades. The list is staggering: XTC, The Psychedelic Furs, Joan Armatrading, Eddie & The Hot Rods, Ultravox, fuck it – loads.

U2 – even if the band isn’t, to my tastes, great – the recordings are wonderful. For all the sonic wonder he has added to U2 alone, he still had to start somewhere.

Enter The Automatics. Certainly not his first, but definitely an early production. He’s come a long way. Or did he arrive fully formed?

This certainly captured the sound of London ’78. Those shouty vocals, bratty guitar grinds and the beautiful clunk of a noisy rhythm section all rolled up into a loveable mess. Either its great or it isn’t, and this is. If you add to that recipe an anthemic song, well, you end up with ‘When The Tanks Roll Over Poland’ by The Automatics, for one.

Listen: Indian Summer / Audience
Indian Summer / Audience

Listen: It Brings A Tear / Audience
It Brings A Tear / Audience

Listen: You’re Not Smiling / Audience
You're Not Smiling / Audience

Listen: Stand By The Door / Audience
Stand By The Door / Audience

I really shouldn’t like Audience. I’d have done a lot better in school had it not been for them. I could have been a doctor or something. Instead, I spent seemingly an entire Fall semester possessed by their album, THE HOUSE ON THE HILL. It wasn’t just me. My two room mates Larry and Stewart caught the Audience sickness as well. We would literally listen to this album over and over and over. Lights low, candles, pot, huge Audience poster hanging squarely above the turntable (still have it – neatly folded and slid inside the album with the label bio and 8×10′s). We were all entrenched at the college radio station, WITR. We pretty much ran the joint. I was both the music director and program director, not to mention concert chairman. It was English bands and only English bands. If you didn’t like it – transfer out. Every night we’d come back to the apartment with the latest promos that had arrived from the labels. We weren’t in the dorms – we had a proper apartment with very little furniture, lots of mis-matched pillows, orange shag rug and a low coffee table covered in music magazines and drug utensils. Mattresses on the floor in each bedroom – no beds, cardboard boxes for dressers. The records were everywhere, cinder blocks and clapboards constructing many makeshift shelves. Emergency suitcase record players in each bedroom for late night listening too. So we would whirl through the latest offerings: Greenslade, Byzantium, Atomic Rooster, Colosseum, Chicken Shack, If, Family, Juicy Lucy, Manfred Mann’s Earth Band, just endless titles. But THE HOUSE OFN THE HILL would start and end the sessions, with a few plays during as well. You could really justify fucking off to it, nothing was more important, it was that good.

I’d heard ‘Indian Summer’ on the radio just before school went into session, must have been late August. Wow – what was that?!? It stood right out and was getting that suspicious two week window of play at Top 40. They called this being tested, and if good results came back, then they’d really hang you out for payola. Isn’t American radio great!!! This sophisticated British sounding song in between Andy Kim and Lobo, or whatever. Yes, I paid attention. I remember the single charted briefly on the Billboard Top 100 too.

During the following winter, I made one of my life’s biggest mistakes. I missed Audience live on their brief, and only, US tour. Gasp. They were opening for The Faces. It was a Sunday night, in Buffalo, about 80 miles away. I had no car, no one did, and no money to get there and certainly no way to get home. I watched the clock that evening, knowing they were playing so close yet so freaking far away. Why didn’t I just hitch hike? Risk being murdered – no brainer. But I didn’t and they never returned. Still bothers me to this day.

Such beautiful music. I know that sounds well corny but just listen. Howard Werth’s shivering vocals, Keith Gemmell’s signature sax that years later The Psychedelic Furs would unknowingly coin, just the right touch of baroque classical trimmings, not stuffy or overdone. The Strawbs, Amazing Blondel and ELO were klutzy klompy plodding wannabes next to Audience. Mind you, Audience had a wonderfully sloppy feel as well. But it was a magical balance and no one ever came close to matching it.

I’ve posted a bunch of Audience mandatories above. That first US 7″ is a classic double sider, and the promo only UK sleeve that housed ‘You’re Not Smiling’ is a prized possession. Isn’t even in the price guide. ‘Stand By The Door’, their final single is simply a perfect masterpiece.

Listen: Heaven / Psychedelic Furs PsyFursHeaven.mp3

It was the Christmas break, 1979. Corinne and I went to stay with Howard in London for what turned out to be a Christmas to remember. He really did it up right, as always had countless things planned, on the go go go, especially hitting all the record shops. Went to see The Birthday Party at The Venue. Fuck they were, um, great. I did not appreciate it fully at the time, but in hindsight – yes, pretty great. And then there were the traditional English holiday parties. Not industry parties mind you, but family ones, like John Anthony’s Mom’s. That spread was fierce and her homemade trifle…..well we still talk about it to this day. The nights we didn’t eat our way through a party or see a band were just happily spent playing records in HT’s front room. The floor was literally covered with 45’s, row after row leaning against the moldings. An endless trove to flip through and pick from. Hours would just fly by, never a dull moment. And he had everything, all the latest releases – and there were many. Don’t forget, loads of great records were still coming out weekly. It was the tail end of punk turning into whatever the next thing was called…I really can’t remember actually. And often Richard and Tim Butler would be by. Howard had just signed them to CBS, and they were beaming about their first single ‘We Love You’, which Howard had just gotten copies of. In fact, they kept playing it over and over and over. But hey if they didn’t, we did. It was the start of a friendship that lasted years and brought loads of fun times. I realized only recently that The Furs were a really good singles band. I mean they have so many. I was very into TALK TALK TALK, not a bad track in my book, so always thought of them more as ‘albums’. But lately I’ve been rotating a bunch of the 7’s on my ipod and indeed – they were a solid singles band. I’m not sure many people rate ‘Heaven’ as one of their best but it sure is. I ran into Richard on the street about a month ago. He’s lived in NY for years. Picked up right were we left off, as if mid-sentence. We were shocked to think it’s been 29 years since that Christmas. Pretty amazing considering we’re both still 35.